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This is the first book on New York's subway musicians--modern troubadours who perform on platforms, mezzanines, and even trains pounding through the city. Illustrating her account with captivating photos, Susie J. Tanenbaum draws on interviews with musicians and their audiences to explore both the vibrant culture and the intricate politics of subway music.
'World music' emerged as an invention of the West from encounters with other cultures. This book draws readers into a remarkable range of these historical encounters, in which music had the power to evoke the exotic and to give voice to the voiceless. In the course of the volume's eight chapters the reader witnesses music's involvement in the modern world, but also the individual moments and particular histories that are crucial to an understanding of music's diversity. World Music is wide-ranging in its geographical scope, yet individual chapters provide in-depth treatments of selected music cultures and regional music histories. The book frequently zooms in on repertoires and musicians - such as Bob Marley, Bartok, and Nusrat Fateh Ali Khan - and attempts to account for world music's growing presence and popularity at the beginning of the twenty-first century. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
A history of New York subway passengers as they navigated the system's constraints while striving for individuality, or at least a smooth ride. When the subway first opened with much fanfare on October 27, 1904, New York became a city of underground passengers almost overnight. In this book, Stefan Höhne examines how the experiences of subway passengers in New York City were intertwined with cultural changes in urban mass society throughout the twentieth century. Höhne argues that underground transportation--which early passengers found both exhilarating and distressing--changed perceptions, interactions, and the organization of everyday life.
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
Like race, gender, and sexuality, disability is a social and cultural construction. Music, musicians, and music-making simultaneously embody and shape representations and narratives of disability. Disability -- culturally stigmatized minds and bodies -- is one of the things that music in all times and places can be said to be about.
Austin’s famed South by Southwest is far more than a festival celebrating indie music. It’s also a big networking party that sparks the imagination of hip, creative types and galvanizes countless pilgrimages to the city. Festivals like SXSW are a lot of fun, but for city halls, media corporations, cultural institutions, and community groups, they’re also a vital part of a complex growth strategy. In Music/City, Jonathan R. Wynn immerses us in the world of festivals, giving readers a unique perspective on contemporary urban and cultural life. Wynn tracks the history of festivals in Newport, Nashville, and Austin, taking readers on-site to consider different festival agendas and styles of organization. It’s all here: from the musician looking to build her career to the mayor who wants to exploit a local cultural scene, from a resident’s frustration over corporate branding of his city to the music executive hoping to sell records. Music/City offers a sharp perspective on cities and cultural institutions in action and analyzes how governments mobilize massive organizational resources to become promotional machines. Wynn’s analysis culminates with an impassioned argument for temporary events, claiming that when done right, temporary occasions like festivals can serve as responsive, flexible, and adaptable products attuned to local places and communities.
Sound Tracks is the first comprehensive book on the new geography of popular music, examining the complex links between places, music and cultural identities. It provides an interdisciplinary perspective on local, national and global scenes, from the 'Mersey' and 'Icelandic' sounds to 'world music', and explores the diverse meanings of music in a range of regional contexts. In a world of intensified globalisation, links between space, music and identity are increasingly tenuous, yet places give credibility to music, not least in the 'country', and music is commonly linked to place, as a stake to originality, a claim to tradition and as a marketing device. This book develops new perspectives on these relationships and how they are situated within cultural and geographical thought.
This book explores and critiques the process of spatial regulation in post-war New York, focusing on the period after the fiscal crisis of the 1970s, examining the ideological underpinnings and practical applications of urban renewal, exclusionary zoning, anti-vagrancy laws, and order-maintenance policing. It argues that these practices were part of a class project that deflected attention from the underlying causes of poverty, eroded civil rights, and sought to enable real estate investment, high-end consumption, mainstream tourism, and corporate success.
Rebetiko Worlds invites the reader to share the experience of rebetiko music-making in the city of Thessaloniki today. It aims at representing an ethnographic world made of diverse realities united by the melancholic sounds of rebetiko songs. Rather than a musicological account on rebetiko music, this ethnography is about the human encounters happening in certain rebetiko venues of the Ano Poli area in Thessaloniki. How do people perceive, practice, feel and imagine rebetiko song—a music tradition coming from the beginning of the 20th century—today? What are the worldviews embodied and inspired in the context of the ongoing rebetiko performances? And, how may the exploration of rebetiko revivalist culture convey understandings of broader music-cultural orientations defining contemporary Greek society? This ethnography is primarily interested in knowing contemporary rebetiko culture as a ‘lived experience’. It captures instances of the life-worlds of the people involved in the rebetiko revival, which unravel the ways local traditions are re-defined in the context of the nostalgic re-invention of ‘ethnic’ music in postcolonial times. On this level, the representation of the discourses and aesthetics associated with rebetiko performances today instigate further interpretations of local cultural trends, the visions of ‘our’ future triggered by the mythicized representations of ‘our’ past. Beyond a window to the rebetiko worlds of today, this book recounts the story of an ethnographer engaged in fieldwork ‘at home’. It aims at communicating the dynamics of reflexivity shaping the ethnographic self by proposing an understanding of the fieldwork experience as a ‘special ontology’. In this way, it reveals the various dilemmas, moments of enthusiasm and moments of despair lived in the process of research in an attempt to illuminate the poetics of the subjective cultural knowledge. Rebetiko Worlds incites the reader to share the poetics of ethnographic ‘fiction’ and interpretation and, through this, the gradual ‘making’ of the ethnomusicologist in the field.
Nicknamed the International Express, the New York City Transit Authority 7 subway line runs through a highly diverse series of ethnic and immigrant neighborhoods in Queens. People from Andean South America, Central America, China, India, Italy, Korea, Mexico, Pakistan, Poland, Romania, and Vietnam, as well as residents of a number of gentrifying blue-collar and industrial neighborhoods, fill the busy streets around the stations. The 7 train is a microcosm of a specifically urban, New York experience, in which individuals from a variety of cultures and social classes are forced to interact and get along with one another. For newcomers to the city, mastery of life in the subway space is a step toward assimilation into their new home. In International Express, the French ethnographer Stéphane Tonnelat and his collaborator William Kornblum, a native New Yorker, ride the 7 subway line to better understand the intricacies of this phenomenon. They also ask a group of students with immigrant backgrounds to keep diaries of their daily rides on the 7 train. What develops over time, they find, is a set of shared subway competences leading to a practical cosmopolitanism among riders, including immigrants and their children, that changes their personal values and attitudes toward others in small, subtle ways. This growing civility helps newcomers feel at home in an alien city and builds what the authors call a "situational community in transit." Yet riding the subway can be problematic, especially for women and teenagers. Tonnelat and Kornblum pay particular attention to gender and age relations on the 7 train. Their portrait of integrated mass transit, including a discussion of the relationship between urban density and diversity, is invaluable for social scientists and urban planners eager to enhance the cooperative experience of city living for immigrants and ease the process of cultural transition.